Diffuser Soften Focus

Diffuser Soften Focus

Full of Surprises! Rajeev Jain, director of photography india / PDO, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … They're just a touch away.

Full of Surprises! Rajeev Jain, WICA ICS, talks about … KALPVRIKSH (The Wishing Tree): Your dreams … These are just a touch away …

Like any artist, Rajeev was born with innate talent burnished by experience and cultural influences. Born in 1968, his first introduction the magic of cinema came while watching his uncle as a projectionist in Ravindralaya Theatre, Lucknow. "I remember sitting in that little screening room and watch movies with my uncle, "recalls the director of photography in India." It was like watching silent movies, because he could not hear the sound in the cabin. I just saw the pictures and trying to understand the story. My uncle showed us the films of Charlie Chaplin, who, of course, silent. There is no doubt that he put his dream become a director of photography in my heart. "Originally from India, cinematographer Rajeev Jain ICS WICA studied at the Drama Academy Bhartendu Art in Lucknow, India.

The day after completing his studies, Rajeev went to work as an apprentice in an anamorphic image. Contributed to ten films as a camera assistant before becoming a dictatorship of the proletariat. "From that moment I considered the camera as a pen that is used to draw images," says. "Operating a camera is all about the composition and rhythm. I also operated the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was the moment all the pan and zoom. He said: 'You have 5 1 / 2 seconds to make the zoom. "It was a great lesson for me, learning to do that every element of a work shot in that amount of time. "

I thought it was fascinating that the film speaks a common language everyone in the world can understand, "he recalls." This is especially true for filmmakers, because we are communicating with the public on a non-verbal. " "For me, making a film is the resolution of conflicts between the contrasting colors of light and dark, cold and heat, blue and orange or otherwise. There must be a sense of energy or movement change. A feeling that time is passing – the light turns to night, again in the morning. Life becomes death. Making a film is a journey and document the use of light in the style that best suits that particular frame … the concept behind it.

The first important decision regarding the images was shoot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Rajeev explains that he likes to manipulate the views Manika subjective and objective, sometimes in the same frame, or even simultaneously. In a simple example, start on one shot item, then an actor will step into the frame, creating a shot over the shoulder, changing the subjective – in which the viewer sees what the character sees – the target. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree in the Super 35 format," Rajeev continues. "I felt the film would give an advantage not expect to see in Drama. I felt I could use the broader framework to create a sense of claustrophobia in the cave of Shabana and more interesting composition showing Shabana in the world. "She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities to compose Kalpvriksh – the Wishing Tree in widescreen format, while based on visual cues such as another drama with an unlikely subject. Although the scenes Manika storyboard, sketches Rajeev used primarily as a communications tool. During filming, the director was open to deviate from the storyboards to exploit unexpected opportunities. "Our production designer and costume designer Mansi given us rich sets and costumes. Despite two stops to push development sometimes it is so true to the colors, their cooperation with this technique has allowed us (especially at dinner and fantasy sequences) to have a hot scene, yellow, as if everything was lit by candlelight, "he says.

In a spectacular scene on, the school principal (Mahabano Kotwal) sits in the chair, looking out a window at the falling rain. "The whole scene was illuminated with a light hard day, an ARRI 6K," says Rajeev. "We brought a light through the window. To illuminate the door, we used a 4 by 4 mirror out of its frame on the right. The light is modulated by the rain on the window and ran to the book. We were 'nuts' gathering. It was serendipitous, and it all worked out with a light. "To fill light in this film, which is used both very, very little or none at all, "he adds." I think that with the existence of film we were using, if you are overexposing a little more, you can read the details in the shadows incredibly well. When I saw the picture on the screen theater in the 70-feet wide, on the dark side, he's dead black, you can actually see hair on the head is actors. I found it very interesting. I hope it works on a subconscious level to the public. "Although I knew Rajeev I could not shoot wide open in a T2 or T2.8–because the Super 35 format chosen has a depth – still wanted this tool to give the story a greater presence on stage. The biggest negative is allowed to push the envelope. And I knew that the grain still be acceptable, if he stayed in the T4 T2.8 range indoors. "We still actual use of sources and it would be difficult for our camera crew to follow focus, "he says with confidence.

Like many of his colleagues, director Rajeev Jain photography has many concerns about changes that can be introduced to the images during the subsequent process of our electronic age. These considerations only intensified when dealing with a profusion of visual effects, which in the case of Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort effort to stay involved in post production as much as possible – it is sometimes difficult because it is "off to the next job" – working with the effects digital and optical house to ensure that there would be no problem with the printing process response. "I do not see any light in the capture of teacher," says. "The vaccine we started with one teacher was impossible came to light. We were stuck back in the corner with a 35mm lens and had a two-way mirror tracks in the background. As Rajeev Jain used a technique called 'drill. In short, you're usually shooting horizontally across a room, and there are horizontal surfaces like the tops of the chimneys and tables. If you come straight down with a light and drilling down into this area and it works pretty well. It seems wrong. If the light comes from a place that is not normal or usual, people seem to accept the item that is being illuminated without actually find out what is happening in terms one source. The shades go down, so they do not end up looking strange to call attention to the source. You see it on the table and then it comes to the table and the lights facing to an extent. It's interesting because you are not lighting the people at all. You light the environment that we are "

Anamorphic gives space framework to do that, "says Rajeev." Manika has no trouble filling an anamorphic frame a contemporary image. The story also looks elegiac so I say it looked better without cutting rock movement of the Video Camera frenzy. With the amazing cast, we knew this film would be on the proceedings. All these ideas – as well as "if it is not broke, do not fix it '- into account in our decision to shoot anamorphic." For determine an appropriate approach for different moods visual Kalpvriksh needed – The Wishing Tree, Manika and chose to resign Rajeev largely economic common to see other films in preparation. "We use a lot of work book, referring to other artists working in two-dimensional shapes, photography and drawings of all, "Rajeev is concerned." This was a nice and different way of preparation. As for movies to see how a particular sequence worked is great, but this approach introduced me to this round incredible self-education, which includes still photography from 1890 through 'til now. Now I can not help buy books. It's amazing how much source material there is a visual reference when you return to the basics. These were great starting points for us.

Filmmaker also had to avoid revealing reflections of the camera gear and personnel on the surface of the water. Along with a disciplined team, which requires careful placement selection of light and camera angle. He found that the introduction of plastic at the correct distance from the lens to harden shots from the point of Shawn slightly distorted view images rendered with a touch of grain, which amplifies the look that he and the director wanted Manika. Rajeev also occasionally added reflections of characters and objects on the surface of the water to draw attention to the barrier that separates the child from others. Sometimes the camera takes a subjective view, as a spectator, while other times the public seems to share the experience of Shawn's life-in-the-bubble. "There is no simple formula for deciding when to make the audience inside the bubble with Shawn. It was a question I asked the director of every shot in every scene. We are with Shawn in the bubble, or are we looking outside? "

I did not believe this and obviously neither he nor either Manika Sharma Films diamond producer. Another photo shot in an old house we needed to Bollywood operation in fact, two power generators to all the lights. In the time it was made, however, I was able to fire two-thirds of a long sequence by dollying along with the reflections seen in a long fish tank at night (Shabana Cave). "I think it is a visual reflection of the fact that the position of one life can change almost instantaneously, "he says." It's very effective visually. It seems to work in a number of different levels. Using this different approach seems to freshen all your purchases and investing. There is a very interesting scene between Shabana and the child was carried out in one under the tree, and there is a sense of unease and possible aggression. It is very ambiguous, however, the spatial dynamics really emphasize the feeling. "

There is a great advantage in the work place front of a studio. For example, I mentioned the Muslim house had marble floors. An experienced DOP knows how to use this really something that can only be simulated in a study "Reflected Rajeev. Searchlights were used extensively throughout the film, usually on the side of the landfill to pick up some environment or an edge of the spot principal and redirect some of that light next to the landfill. In most cases it was very subtle, however, simply reflects the brightness of the skin. "We use the spotlight, as almost more of a eyelight "says Rajeev." There is so much tension among these three characters. There are a lot of inner emotions beneath the surface of this film. I felt that the public needs access to the internal life of the characters, so I tried to keep going eyelights, especially when put us in close. Often reflector has a small shot at the last minute.

One of the most important aspects include the nature of Shabana preview itself. "For the nailed down, we started working on storyboards with an artist," says Rajeev ", which drew great boards and is a great artist too. We told him our thoughts on how Shabana looked and went to work. Manika credited with creating much of the final appearance since their drawings were used to communicate with the hair, makeup and costume departments which Manika wanted for his eyes. "Part of disguise Cave 'involved the use of a wig, which often hidden face of the actor – that sometimes makes a situation less than ideal lighting. "During the hair and makeup tests, I saw that, while Shabana seemed unbelievable, that would be difficult to treat for 2 weeks. He had a big hat and a great costume too, so there was a question whether they ever will be able to see it really. Manika told that at times came close to becoming a hair hat. Be very sensitive to the needs of the actors did not want Manika get the facial hair, so I tried not to mess with it and solve it by ourselves. "

In Kalpvriksh – The Wishing Tree, Rajeev opted by Vision 200T (5274) throughout, but the night outside, and explained that the soft grain emulsion logs for this non-intrusive deep blacks, realistic colors and a range tonal range. Rajeev outside shot of Eastman EXR 100T day (5248), using a filter of 81 half-EF correct and maintain the blue cold of winter. 250D daylight-balanced (5246) Vision of values was selected for the interior of days while she took advantage of the view 500T (5279) in most of the interiors and exteriors night. Since the filming, the director made numerous tests with different materials to find the right thickness and translucency. "It's the same as using a filter, low price the lens and realized that any distortion or loss of focus is magnified when the optical laboratory 'squeezed' the images in the aspect ratio 2.40. In addition to selecting the right plastic, it was important for us to record a strong negative image in the focus. We were shooting through filters at least 90 percent of the time.

During the filming of scenes in the forest with a main character, what he Rajeev employees sandwich called a new light. "Others might call it a light book, but in any case, we were playing nine Maxi light crude a piece of board accounts, then letting the light pass through a diffusion framework generally well equipped with 216 or light grid. The soft light that he had surprisingly a very fine quality, plus some serious pounding of foot candles. This had enough soft light to pierce through the hair Shabana, and could control the amount light with just a click away from different balloons. But it also requires a lot of flagging and took a lot of space. "Other times, Rajeev Forest illuminated by direct light from more extreme angles. "I have come in much lower and more front with his key to what would normally, but the approach achieved by dropping the hair naturally, so that although it was hard work. It made me grateful for the scenes when Shabana wears her hair up, as it could get a nice benefit in it through the side lighting. "

When children reach the tree before completion, the production set setting famous for filming the actors in front of blue screen and green screen. These elements were composed digitally with the bottom of the plates selected values of Ladakh. Harry and Arjun of in-house installation of Red chiles "supervised the visual effects shots." I do not think that these scenes might be more credible if there was traveled to Ladakh to shoot to live, "marvels Rajeev." How I miss you when you start with 70 mm plate in the background? We matched all the dishes. "

There was daylight scenes are few, so we decided that the cracks in the ceiling of the cave hard left in sunlight, "he continues." I put some signs of this in the walls behind the actors and let some light bouncing off the floor. For the most part, however, the cave scenes set at night – Lit by firelight or flashlights or glow comes from imagination, which is not connected to anything. On the Water, I chose to use a Light Blue key light on the actors, but it did not any oscillation movement because I felt it was distracting. The flickering on their faces only came to the actual water. What I did was add a slight flicker effect on the walls, which seemed to be more enjoyable while lending a bit of realism.

Front-end lab work was performed by Gemini, which film journals provided. "After their experience in the commercial world where he works on a monitor at all times, day Manika loved watching the film – that opened a new world for her, "says Rajeev." For example, there is a picture of a Shabana delivery of a line at the end of a long shot in the tree. When Manika saw him playing in the video [tap] monitor, did not feel good about it. She seemed too small in the shot. He suggested that perhaps the line would edition disappear. After some time, Manika was projected onto a large screen and loved the shot. "When asked if such good news extend the drama on the screen as well, Rajeev smiles and says: "Would you be surprised if I said there is a happy ending?"

The filmmaker does not use diffusion on the Camera Lens, preferring to ease his subject, as required, selectively affecting the source of light. "Never I liked the movie when the general resolution of the lens changes visibly when cutting the fore during a scene, "he says." The whole business of putting heavy diffusion front of the lens to make [actress] look "better" is crazy to me. Do not want to see the effort of the picture to make someone looks good. Instead, I see the character looks good, and I think that happens when the actor is part of the illuminated scene properly and so flattering. My solution is to soften the light source, and let the image be as clear as possible. Some people think that Primo lenses are too sharp, but I love everything perfectly. When combined years and years of research and development in Kodak film stock, which has happened in Arri lenses and laboratory work in the Gemini, and then put this in a movie projected on the screen correctly, the result is amazing how perfect! So I take great pride in providing a reality perfect negative. We may want to mess later, and that's fine, but I think at the start of something good exposure and sharp. "

With all necessary care to illustrate visual perceptions of Shabana, Rajeev and Manika necessary to decide the parameters from the beginning of the most require elaborate visual effects. "We're telling a story that is partly through the eyes of a madman," offers Rajeev. "She's a very crazy brilliant, but insane, however, so there is a sense of the fantastic of these visions, but not in the tradition of the effects of science fiction film. We presented a wish list of visual effects for budgeting, but again prices four or five times what we expected. This has forced us to removed, and the decision he worked best for movie ended up doing. Most effects are things that we ourselves did, with practice tracks light, or a combination of these keys with digital enhancement. "

I'm glad to see this movie seems interesting to look at, but I'm happy also that the images do not replace history. Early reviews are praising the performance of Shabana as one of the best ever since, so no sense to do something he took from that aspect. Many of the movies now seem overwhelmed with effects, but is not a Manika know what kind of history.

When India Photo Rajeev Jain, WICA ICS is asked if he would do anything different today, the artist Master replies: "Ninety-nine percent of Sometimes when I see my films I am serene. It was the best I could do at that point in my life by what we had to work. The important thing is your life and how they evolve as a human being and artist.

About the Author

Jude Ibinge is the son of American immigrants — a black father and a white mother — who came to USA the day after they married in 1963 in Washington, D.C. On his father’s side, Ibinge ‘s grandfather and great grandfather were university-educated, ordained ministers of the African Methodist Episcopal Church. His mother came from a family in Washington, D.C., graduated from Oberlin College and went on to become a civil rights activist in D.C.

PromVid – MUS 2009 to 2010